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Text of the German Application of Art of Coding This is the Text of the German application of Art of Coding (www.http://demoscene-the-art-of-coding.net) with the purpose of bringing the demoscene onto the ​ ​ list of UNESCO intangible cultural heritage of humanity. The application was submitted in Oct 2019 and has been written in an collaborative community effort led by Tobias Kopka supported by Andre Kudra, Stephan Maienhöfer, Gleb Albert, Christian Brandt, Andreas Lange and many more who gave their hands at Digitale Kultur und Tastatur und Maus e.V. The structure depends on the form, which is given by the German UNESCO. In spite the structure differs from forms used in other countries text modules can be used for application in other countries. The texts in square brackets are part of the German form. Also every kind of feedback is welcome, which could be taken into account for future use. Use ‘team (at) demoscene-the-art-of-coding.net’ 1. Type of Immaterial Cultural Heritage [Please tick the applicable sections and elaborate in keywords (multi-selection possible, but not mandatory)] Section A) verbally passed on traditions and expressions [keywords]: own technical vocabulary, own idiom with specialized terminology, English is lingua franca Section B) performing arts (music, theatre, dance) [keywords]: composition, performant, live, public presentation, animation Section C) social tradition, (seasonal) celebration and ritual [keywords]: demoparties, competitions, visitor voting, price ceremonies Section D) Knowledge and customs, related to nature or the universe [keywords]: digitalized living environment, cyberspace, virtual reality Section E) traditional craftsmanship [keywords]: coding, composition, animation, adoption, do-it-yourself Section F) other 2. Geographic localization [Please name localities and/or regions in which the cultural form is being practiced or cultivated.] The Demoscene is a global, decentrally organized cultural form with its epicentre of activity in Europe. Ever since its emergence in the second half of the 1980s, the Demoscene’s radius was congruent with the occurrence of Home Computers on one hand, and the just-emerging Gaming Industry on the other hand. Hence its strong presence in Western and Northern Europe, as well as the United States to a limited degree. After the fall of the Berlin Wall, the Demoscene eventually became a global community, with collectives and events on all five continents (Albert 2018). Although Demoparties always kept a regional character, and physical meetings are an integral part of the Demoscene’s identity, it does not narrow itself to regional categorization in its self-understanding. Due to its extensive online structures, practice and discourse are open to anyone with an internet connection. If applicable, tick and specify: X active in several counties in Germany X active in European countries outside of Germany X active in countries outside of Germany 3. Short Description [The Short Description is supposed to provide a concise depiction, e.g. for the internet: its purpose is to describe the current application and practice, the specific knowledge and skill, the provable existence for multiple generations as well as the activities to preserve and transfer of knowledge to future generations (between 3000 and 4500 characters including spaces)] The Demoscene is an internationally active, decentrally organized and non-commercial digital culture, that devotes itself to the production of digital audio-visual works, so-called “Demos”. Demos are – usually, but not necessarily – a few minutes long, software-rendered animation sequences. They consist of specific combinations of other crafting categories, such as music, text-, pixel- and 3D-graphics and video. The objective is entering a competition and displaying the self-made Demos live at one of the scene-events, the “Demoparties”. The programs are competing in different categories, and have to be real-time rendered by the provided computers for presentation (the replay as a video file is reserved for the purpose of archiving only). The competition categories are set by different limitations (e.g. 1 or 4 kilobyte maximum file size) or specific historic computers, like the Commodore C64. The comparability of the Demos is constituent for the scene, as it is heavily carried by its competitive nature. Therefor, one of the core competencies of Demosceners is the so-called Size-coding, whereas the program code is being written as lean as possible. Further complementing competencies are e.g. the so-called “Tracking” of music, a programming-like composing technique, or the Hacking-attitude to creatively explore and master new hardware platforms. In all those instances, self-limitation is an important creative driver. The Demoscene has its roots in the Cracker culture of the 1980s, when groups of autodidactic teenage computer fanatics built digital “calling cards” into cracked videogames, to proof it was them breaking and removing the copy protection. These so-called “Crack-Intros”, executed within extreme limits, got more ambitious over time, eventually becoming standalone visual artwork, the Demos, and developed independently from the Cracker Culture. The Demoscene viewed itself from the beginning as an international community, in which English is the Lingua Franca. Another characteristic of the Demoscene is the exclusivity of its competition entries. Any demo being entered and premiered on a Demoparty, cannot compete in any other event thereafter. Almost every week, there is a Demoparty somewhere on the globe (see demoparty.net). There are four larger annual events in Europe with more than 400 participants, in Germany the biggest event is currently held in the county of Saarland (“Revision”, approximately 1000 visitors), and for 20 years in North-Rhine Westphalia (Evoke, approximately 500 visitors). In regards of passing on the cultural aspects over multiple generations it must be recognized that “generations” define differently in the digital cultural space than in the conventional context, where cultural heritage is being passed on between (human-) generations. Digital cultural forms on the other hand tend to be short-lived, as they are by nature dependent on the technical platform and developed in a specific setting. Under these circumstances, the Demoscene can rightfully be viewed as a bedrock digital culture with its 30-year-spanning history, and one of the few that was able to conserve its cultural identity over several technological milestones, spreading over multiple age-group cohorts at this point. The community developed a specific scene-mindset, that adjusts and adapts to all technological change. A major enabler for the common spirit within the scene is the strong solidarity amongst sceners. Physical meetups are an important part of the scene’s identity. In parallel, a lively online culture is an integral part of the scene-life, that started with BBS (Bulletin Board Systems) and transposes to this day with Online Competitions, community discussions (like the scoring of entries in scene-exclusive online forums) and the so-called sofa-screening (Twitch, Scenesat, Revision-Stream, etc). A mix of online and offline activity is common practice. Preservation and knowledge transfer is being facilitated by Demoparties, public relations work, online- and offline-archiving, outreach activities by Demoscene societies, groups and individuals. Exhibitions and scientific discourse contribute to the analysis, but also to knowledge management and as input for the scene’s further development. 4. Description as Cultural Form a) Contemporary Practice [Describe the current practice and application of the living cultural form – the motivation to perform or practice, the technique, rules, etc as well as the significance of the cultural form to the impacted society/ies. Please also describe the identity-establishing character. (Between 1200 and 2000 characters including spaces] Today’s practice of the Demoscene is a mix of online activity, the autonomous production of artwork in a private context and the open gathering at multi-day events, so-called Demoparties. The motivation of the members is a mix of the social and competitive nature, social status is achieved by deeds for the community, or the production of outstanding artwork. Another important identification factor beside the focus on technical excellency is the strong internationally (European) oriented community spirit, that already developed in the 1980s despite the existence of the Iron Curtain. Noteworthy is also the collaborative cultural aspect within as well as between Demogroups. The scene facilitates teamwork between universalists and specialists in everchanging, new constellations, depending on the current Demo-project (Hartmann 2017). The rules of the Demoscene constantly developed and elaborated throughout its existence, to only outline a few: usually, a producer of a Demo must be present at the Demoparty it is being released at. Any demo must only compete once, making their presentation de facto exclusive, the Community evaluates and rates the Demos as peer-expert audience, whereas every visitor has one vote. Further elements of the identity-establishing character: Mix of merit, competition, open-mindedness towards people that dare, recognition by peers and even role models, mentors as motivators, (former) identification as underground culture, in any case being part of a movement that is at the same time inclusive and exclusive to its members. Today, the identification as digital veterans plays a growing role
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